The spinning saxon, flying pigeons, polka batteries, jumping jacks and firecrackers, squibs and salutes, Aztec Fountains, Bengal Lights, and Egyptian Circlets, bangers or bungers, cakes, crossettes, candles, and a Japanese design known as kamuro (boys haircut), which looks like a bobbed wig teased out across the stratosphere… the language of fireworks has a richness that hints at the explosive payload it references. And yet, anyone who has ever held their camera up to the blazing sky knows that a brilliant firework show can rarely be captured to any satisfying degree. Perhaps this is what makes a nineteenth-century series of catalogue advertisements for Japanese fireworks so mesmerizing: denied the expectations of photorealism, these images are free to evoke a unique sense of visual wonder.
Welcome to yet another “best UX books’’ list, but with a twist. This compilation revisits the best books from one decade, the 1980s. If you were there, you can take a stroll down memory lane — or get apoplectic if your fav book was overlooked. If you joined the UX field later, you can get a taste of the latest-greatest ideas from that era, and see which ones are still around.
Of course, the term UX had not yet been coined, and the field was more commonly known as human-computer interaction (HCI) and user-centered design (UCD), which are terms featured in many of the classic books we’ll cover.
I haven’t had a good pillow fight in a long time but these posters, created as key visuals for Japan’s National Pillow Fight Contest, are making me want to invite some friends over for a sleepover and start swinging. They feature Olympic gymnast Airi Hatakeyama in a series of poses the represent the pillars of pillow fighting: throw, dodge and defend.
Here’s a look at the various FUI designs from the sci-fi series The Expanse.
Special thanks to Brian Benton who suggested this and provided some great links as well! A lot of the images have been collected from this massive image dump from drainsmith and further below we have some insights and images provided by Rhys Yorke who worked on The Expanse (Season 3 & 5) as a motion graphics designer.
This timeline is the result of researching the origins of digital paint and draw software, and the tools that were developed to allow for hand manipulation (versus plotter drawn) drawing and painting - the mouse, light pen & drawing tablet. If we look at the software that has become commonplace today (such as adobe photoshop), which allows for painting, animation and photo manipulation in one, we can trace the roots of this software to the University and Corporate Labs that housed large computers with advanced capabilities for their time - MIT Lincoln Labs & Radiation Labs, DARPA & the Augmented Research Centre (ARC), Bell Labs, NYIT’s Computer Graphics Lab, Xerox Palo Alto Research Centre (Xerox PARC), NASA’s Jet Propulsion Labs (JPL). The artistic collaborations that grew out of these labs fueled the advent of Computer Graphics, Computer Art and Video Art from the 1960’s to the 1990’s.
This visual timeline starts by tracing the paint systems, frame buffers, and graphic user interfaces created out of these labs, with a focus on the first paint/draw software and the various drawing tools. I am interested in how the larger corporate, and often Military Funded laboratories, effected the dawn of the personal computer and the introduction of the personal computer to the home. This timeline continues through the 1980’s, with a focus on the software and hardware that was developed for the home market from late 1970’s to the 1990’s.
I recently had my Volkswagen Golf Alltrack at the dealership for routine maintenance. As a courtesy, this dealership will give you a loaner car if you pre-request it. This time they gave me a new Atlas, their largest SUV model.
This was just before the gas crunch hit, but fuel was still on their minds. “We’re now charging for the fuel you use with the loaner car,” the VW service guy told me, as he handed over the keys. “Last year we lost $300,000 in fuel costs with loaner cars.”
That figure sounded high to me, and I assumed he meant VW dealerships nationwide. He then explained that they’d use the odometer and GPS tracker in the car to calculate my precise mileage and thus, fuel cost. “Okay,” I said.
“You don’t need to fill it up yourself if you hit empty,” he added. “We’ll fill it up and just charge you, it’s cheaper for you that way.”
This sounded dubious, but with no other choice I drove off in the Atlas to run some errands. I hadn’t gone far before I glanced down at the fuel gauge, and saw this:
Microsoft is finally preparing to refresh its Windows 95-era icons. The software giant has been slowly improving the icons it uses in Windows 10, as part of a “sweeping visual rejuvenation” planned for later this year. We saw a number of new system icons back in March, with new File Explorer, folder, Recycle Bin, disk drive icons, and more. Microsoft is now planning to refresh the Windows 95-era icons you still sometimes come across in Windows 10.
Have you ever gotten overwhelmed by your design work? Have you ever felt lost and wished there was an easy to follow roadmap? Me too. Over the past few years, I’ve been developing a simple four-part recipe for successful design. These are things every designer must do to be successful in their design work. And…I may even say, if you’re not doing all four of these things…you’re not doing design.
Before we dive in, let’s make sure we’re all on the same page about what we mean by “design”. In my previous article, we explored a solid definition of what design is, and the six things that make design a unique discipline. I’d recommend that you go back and read that article, but we can summarize that article with this definition of design:
Design is a distinct method of reasoning that brings form to solutions that solve specific, but ambiguous problems.
As designers, we’re constantly working to solve problems by trying solutions and evaluating how well they work. We do a variety of activities to accomplish this. In my observation, I want to suggest there are two types of activities broken into four elements.
Picture the keypad of a telephone and calculator side by side. Can you see the subtle difference between the two without resorting to your smartphone? Don’t worry if you can’t recall the design. Most of us are so used to accepting the common interfaces that we tend to overlook the calculator’s inverted key sequence. A calculator has the 7–8–9 buttons at the top whereas a phone uses the 1–2–3 format.
Développer vos sites et applications en utilisant des composants prêts à l’emploi, accessibles et ergonomiques
Depuis plus d’un an et demi, le Service d’Information du Gouvernement (SIG) construit cet outil avec l’aide de nombreux développeurs et designers de la sphère publique. À la clé : retour d’expériences, rejoindre la communauté et gagner du temps.
SVG, short for “scalable vector graphics” is a format for, well, scalable vector graphics. In this article I summarize my opinion of the format, what its problems are and suggest what could be done to improve things.
A highly-flexible new variable font.
Built to maximize versatility, control, and performance, Recursive is a five-axis variable font. This enables you to choose from a wide range of predefined styles, or dial in exactly what you want for each of its a